Choose a Portrait Length

Head and Shoulders. In a head-and-shoulders portrait, all of your camera technique will be evident, so focus is critical (start with the eyes) and the lighting must be flawless. Use changes in camera height to correct any irregularities. Often, head-and-shoulders portraits are of the face alone as in a beauty shot. In such an image, it is important to have a dynamic element, like a diagonal line, to create visual interest. This can be the line of the eyes, the tilt of the head, or the line of the shoulders.

Three-Quarter and Full Length Poses. When you employ a three quarter length pose (showing the subject from the head to below the waist) or a full length pose (showing the subject from head to toe), you have more of the body to contend with.

In these types of portraits, it is important to turn the body so that it is at an angle to the lens. Don’t photograph the person head on, as this adds mass to the body. Also, your subject’s weight should be on their back foot (the foot farthest from the camera) rather than distributed evenly on both feet or, worse yet, on the front foot. There should be a slight bend in the front knee if the person is standing. This helps break up the static line of a straight leg. The feet should also be at an angle to the camera; feet look stumpy when shot straight on.

When the subject is sitting, a cross legged pose is effective. Have the top leg facing at an angle and not directly into the lens. When posing a woman who is seated, have her tuck the calf of the leg closest to the camera in behind the leg farthest from the camera. This reduces the size of the calves, since the leg that is farther from the camera becomes more prominent. Whenever possible, have a slight space between the subject’s leg and the chair, as this will slim down the thighs and calves.

In three quarter images, you should never frame the portrait so that a joint an elbow, knee, or ankle, for example is cut off at the edge of the frame. This sometimes happens when a portrait is cropped. Instead, crop between joints, at mid thigh or mid-calf, for example, when you break the composition at a joint, it produces a disquieting feeling.